The Guardian's Scores

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For 6,616 reviews, this publication has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 London Road
Lowest review score: 0 Melania
Score distribution:
  1. Positive: 2,508 out of 6616
  2. Mixed: 3,788 out of 6616
  3. Negative: 320 out of 6616
6616 movie reviews
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  1. Horse Girl
    The ambition of Horse Girl ultimately gets the better of it, turning what could be a dark but insightful depiction on signs missed in a mental health crisis into an agreement on one’s madness – a game of what’s real, and what’s not, that feels unsettling to play.
  2. The True Adventures of Wolfboy
    First time director Martin Krejci draws lovely performances from his cast, and the whole thing looks dreamy and splendid thanks to Andrew Droz Palermo’s cinematography – but the last act could have done with some serious workshopping to smooth out the motivational kinks and deflationary resolution.
  3. Americana
    It doesn’t quite lasso the bronco, but the ambitions of writer-director Tony Tost’s yarn are ambitious and interesting, and he has at least assembled a cracking cast to tell it.
  4. Super Size Me 2: Holy Chicken!
    This time, his journey doesn’t send him to the ends of experience. Instead, he goes on a smug odyssey of know-it-all-ism that yields a scant few factoids we didn’t already learn from his first film.
  5. In Your Dreams
    This is a little too slight and breezy to really make much of an impression, like a dream you’ll forget as soon as you open your eyes.
  6. Unpregnant
    It’s an uneven ride, rocky in places, but it’s one that’s also unquestionably worthwhile, a progressive, witty and timely way of reminding many of us how antiquated women’s healthcare still is while also alerting a younger audience that there’s more to the teen movie than Netflix.
    • 61 Metascore
    • 70 Critic Score
    Hammett
    It's a stylish, entertaining movie, starring Frederic Forrest (a dead ringer for Hammett, bar the height) as a drinking, smoking, coughing and typewriter-bashing writer lured back into detection by an old Pinkerton associate (Peter Boyle) and stumbling into the plot of The Maltese Falcon.
  8. Song Sung Blue
    This is a never-say-die story and its cheerful optimism makes it a calorific Christmas treat.
  9. Dreams
    It is quite a vision: mordant, satirical, brutal.
  10. Once Were Brothers: Robbie Robertson and The Band
    As in Scorsese’s rock docs, there are reams of archive footage and rare snapshots to swoon over (Dylan’s striped trousers from 1967 never get old), all seamlessly edited together by Roher and Eamonn O’Connor.
  11. PVT Chat
    Ben Hozie makes his feature debut with this semi-insightful, uncomfortably funny indie drama about a man who becomes obsessed with an online sex worker. It’s a film with a slackerish mumblecore vibe, and Hozie is refreshingly grown up about sex. But it’s hard to see how his film adds much to the conversation about intimacy in the internet age.
  12. Avatar: Fire and Ash
    Avatar is as gigantically uninteresting and colossally impervious to criticism as ever: a vast, blank edifice that placidly repels objection.
  13. At War
    This is a stridently, bafflingly cacophonous movie which despite some smart, shrewd touches, is pretty much content with its single note of shouting acrimony and finishes by immolating itself in martyred self-pity.
  14. The Uninvited
    We’re invited to laugh at the characters gently but The Uninvited never goes for all-out satire and is all the better for it, even if the last act is overly neat.
  15. The Universal Theory
    The script, by Roderick Warich and Kröger, isn’t quite as nifty as its famous models, but it has its own grim integrity, especially with the jarring last frames.
  16. The Informer
    The Informer is spread over a big canvas, but by the time of its big finale it is leaking energy. It might have made better sense as an episodic drama on television but it is brash and watchable, its world reeking with cynicism and fear.
  17. Triple Frontier
    It’s an enjoyable enough way to spend two hours but without any commentary or real depth, it’s in need of a bit more suspense or conflict to really oil the wheels, the film too often ambling along when it should be racing.
  18. Earwig
    A fog of menace descends on this hauntingly photographed, oppressive and driftingly directionless movie from Lucile Hadzihalilovic. It has the intensively curated atmosphere of body-horror noir – if not the conventional plot structure – and some way into the running time you might find yourself awakened from its reverie of formless anxiety by a sudden, horrifying stab of violence.
  19. The Secret Life of Pets
    It’s not ground-breaking, but there are laughs, and it is a good audience movie.
  20. Anchorman 2: The Legend Continues
    This Anchorman sequel knows who its fans are, and does its best to keep them happy. No one will be complaining.
    • 61 Metascore
    • 90 Critic Score
    The Jerk
    Like Woody Allen's "Take The Money and Run", The Jerk is basically designed to allow Martin to use as many of his standup jokes and routines as possible, but his charm and timing makes this cleverly constructed movie seem fantastically loose and easy.
  22. Heart Eyes
    Whatever might have made sense on paper just doesn’t translate to screen, a fun little concept that ends up being something of a drag.
  23. The Man from Mo'Wax
    Ego, money, drugs: Lavelle’s story has the makings of an entertaining account of the music business. But this film feels too much like a promo for a comeback attempt.
  24. Sputnik
    A smart and satisfying movie, although the crashy-bashy deafening score is so loud you can probably hear it in space.
  25. Babylon
    Babylon is a film that’s thinking big, aiming big, acting big: but feeling medium, and finally ordering us to care about the celluloid magic, a secondary emotional response which should be happening without any explicit instruction. Yet it’s always a pleasure to be in the presence of such black-belt movie stars as Pitt and Robbie and there is something funny in Babylon’s wild, event-movie gigantism.
    • 61 Metascore
    • 80 Critic Score
    36 Hours
    George Seaton's 1964 36 Hours is complete tosh but clever and zestful tosh, and there's not a lot of that about. [13 Apr 1999, p.20]
    • The Guardian
    • 61 Metascore
    • 60 Critic Score
    The Assassination Bureau
    Done in a hip, glossy, none-too-witty style, though the support acts - Curt Jurgens, Philippe Noiret, Warren Mitchell, Telly Savalas - help it along.
  28. Skincare
    Skincare is a worthy contribution to the growing microgenre of female-led beauty-themed horror, and some of us out here are ready for more.
  29. Last Breath
    This is a workmanlike iteration somewhat ploddingly true to its genre, from the style of lighting used for the interviews, to the sweeping, keening strings-led soundtrack, to the almost shocking moments of humour and honesty.
    • 61 Metascore
    • 60 Critic Score
    The Bluff
    Chopra Jonas gamely commits to the pulpiness of The Bluff, even as it doesn’t ask much of her beyond its impressive action sequences and a few tart one-liners. But there’s cinematic swoop to the movie that you might not expect in a straight-to-streaming swashbuckler, and you feel the grisliness as she drags herself along the ground in blood-splattered clothes like so many final girls of gory slashers before her.
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